At the end, he declares with a bright smile that he is afraid of everything “Covid, weapons, crowded places.” But it’s hard for her to believe. From her first appearance at the age of 13 in Luc Besson’s Léon, Natalie Portman, born in Jerusalem in 1981, raised in the United States where she moved at the age of 3, conveys strength and determination, contrasting with her slender build and features. delicate: “I don’t know if I’ve ever had to say to myself a phrase like “never stop fighting,” but I know for sure that when I experienced negative moments, I felt a surge of revenge inside me. In my 30-year career, I have gone through stages of crisis, perhaps because of negative criticism, because I could not find satisfactory roles, or because of personal misfortune, but every time I seemed to say to myself: “Oh, yes ? So now I’m going to show you what I can do.”
In Rome for the premiere of “Thor, Love and Thunder” (in cinemas with Disney, where she collected one million 400 thousand euros in one day) Natalie Portman – a wrestler with a gaze, a lioness, a graduate of Harvard, an ambassador of We (l charitable organization dedicated to educating young women in 45 countries), accustomed to using popularity to spread the message she believes in: “It’s wonderful,” she says of her character, astrophysicist Jane Foster, “look at how much superheroines in films have increased in recent years . But this is still not enough, and we should no longer be surprised at this number: after all, in real life there are much more superheroes than you can imagine. If he really could wield the magic hammer Mjolnir, like in the Taika Waititi movie, he would have no problem finding the right targets: “Be careful,” he says, commenting on the verdict that bans abortion in many US states. The Supreme Court is not the American people, they will find a way to fix it.” Leon’s early success, from which he immediately distanced himself by returning to his studies, an Oscar for Black Swan, a dialectical connection with his Israeli origins, an experience behind the camera with “To dream is to live” based on the autobiographical novel Amos Oz A story of love and darkness, they forced Portman to grow up so fast that today, to those who define her as young, she gratefully replies: “I take note of this and try to remember it. I hope to become a director again, I want new challenges. I am currently working on the production of the television series Lady in the Lake based on the bestselling book by Laura Lippman.
In general, in my 30-year career, I have had the role of water taking the form of a vessel, now I want to create a vessel. The feminine perspective is the starting point: “I’m interested in stories about women, I was particularly struck by two Italian writers, Natalia Ginzburg and Elena Ferrante, who have an innovative way of exploring the female experience.” On such a conscious journey, even a Marvel movie, light-years away from performances like Pablo Larrain’s Jackie and Terrence Malick’s Song for a Song, can provide food for thought: height 1 meter 60, – the actress jokes, – and this in itself is revolutionary … Then I liked that director Waititi decided to emphasize a humorous moment, I considered this a sign of intelligence. We all need to laugh at this stage.”
But not only that, her heroine, Jane Foster, has to fight a tumor: “It’s nice that Jane is so, on the one hand, tough and strong, on the other, weak and rightly frightened. She’s a real woman, a scientist, it’s been an exciting journey to play her that started ten years ago, and I’m glad that Marvel is promoting a support program for girls doing scientific research, it was necessary because there are still too few of them. “. Wife of dancer and choreographer Benjamin Millepied, who met on the set of Black Swan, mother of Aleph and Amalia, the actress explains that her children teach, in addition to love, “empathy and the importance of curiosity and nourishing passion for what you do.” choose It’s hard to drift with a mother like Portman: “Usually I prefer the face to be prepared for work, to have everything under control,” she admits, “but on the set of Thor, I realized that this is not the case when Susan Position Sontag: I had to leave everything behind, focus on improvisation, I got into an alien story, and it felt right to rediscover the dimension of the game.”